Having read all the posts in the other thread about the reissue of the original tracks on the Cloud 9 label, I felt compelled to give an update on our new re-recording of the entire score on Tribute Film Classics. While I would never part with the Cloud 9 release, I’ve always been disappointed that so many cues were lost and, or not included on that disc. Now, finally, we are looking forward to performing and presenting every cue that Herrmann wrote for my favorite Harryhausen film. Since Anna, John and I will be producing and funding this recording ourselves, we are offering the entire score, plus music never heard before’ for about 20 dollars. Our planned release date is for late summer, available through Screen Archives.

All of the music has been copied and shipped, and we’re ready to record.

Here is a list of all the cues, as Herrmann wrote/named them, which we will be recording May 2nd through the 5th. Obviously, the timings are approximate and we may re-name some of the cues, such as the Bird to The Phororacos, and the Octopus to The Cephalopod.

The price is due to the rather high price that needed to paid to the studio to relicense the original soundtrack recording.

Fair enough. So rather than say the BSX disc is overpriced, I'll simply suggest the Stromberg disc will be cheap at the price.

I must say I'm more intrigued by the timing of this BSX/Silva offering. It's common knowledge that Mr.Stromberg was producing a new recording. What was the thinking behind relicensing and releasing the old Cloud Nine disc just a few weeks before the new recording is made?

Fair enough. So rather than say the BSX disc is overpriced, I'll simply suggest the Stromberg disc will be cheap at the price.

I must say I'm more intrigued by the timing of this BSX/Silva offering. It's common knowledge that Mr.Stromberg was producing a new recording. What was the thinking behind relicensing and releasing the old Cloud Nine disc just a few weeks before the new recording is made?

Very, very excited to hear this is in the works. Oh, and Herrmann's "The Bird" and "The Octopus" works fine for me. I love the terse quality of his cue titles.

As far as Herrmann's original tracks go, there's no substitute for the original and the quality is excellent. Now if only Herrmann's original stereo tracks from The 7th Voyage Of Sinbad would magically reappear on the market.

As far as Herrmann's original tracks go, there's no substitute for the original

I'd usually agree with that. In an instance like Rozsa's Jungle Book, the original tracks released as a limited edition by Film Music Archives had extremely poor sound, but the pleasure of having the extra tracks which were otherwise unavailable still made it an essential for me. The re-release of the Big Country original soundtrack has additional cues compared to the excellent Silva re-recording, so both are essential in their own ways. I also enjoy, for example, having both the Intrada Ivanhoe re-recording and the original Ivanhoe tracks on FSM.

However, with the Stromberg release imminent, the Cloud Nine disc is little more than a sampler of the score in comparison. I'd only be interested in it if it was expanded substantially, or if Mr. Stromberg's version turns out to be unsatisfactory, which I very much doubt.

>>I'd only be interested in it if it was expanded substantially, or if Mr. Stromberg's version turns out to be unsatisfactory, which I very much doubt. >>

Thanks for that, but with John and Anna waving a stop watch at me and us not leaving the recording studio until we have perfectly timed takes, I think we'll be good. Yes, we might even improve those horn burbles in The Island & The Rocks cues. I hope!!

You know, this is one of those "special cases," I feel, in that if you're a Herrmann fan, there should be no question that both the Cloud 9 original tracks and the forthcoming Morgan/Stromberg version should be in your CD library. Both will be essential. This "either/or" is just silly in this case, as Herrmann was such a profound figure in the history of film music, and this is truly one of his greatest scores. And I think either of those recordings would be worth it if they had to be priced at $30 in order to turn a profit. You should be very happy that both of these will be available, and stop bashing BSX, and please -- no bashing "re-recordings." I already own the Cloud 9 version and love it, and I've already cleared a small space in my Herrmann area for the forthcoming AnnaMorgStrom production.

I've got the majority of the Morgan/Stromberg re-creation scores on cd - and although they're OK, they are certainly no match to the original soundtracks. Most of the tempos are off and slow compared to the originals - and they just aren't able to conjure the 'sound' of the orchestras they're trying to emulate.

Even Herrmann himself couldn't re-create his own sound when he re-did Mysterious Island for the Phase4 recordings.

Personally, I congratulate both Stromberg and Morgan for trying their hand at this classic score - but based on their previous track record, I don't hold out high hopes that they'll make it sound like the original score heard in the movie. For me, the Cloud Nine release is as good as it's going to get...and if you don't have it - it's a bargain at $25 bucks.

I'm most fascinated with the size of the orchestra - which would have been VERY unusual for what was a lower-budget film. Are you really saying the Mr. Herrmann's original orchestra on this score was ninety-plus players, because me no believe.

I'm most fascinated with the size of the orchestra - which would have been VERY unusual for what was a lower-budget film. Are you really saying the Mr. Herrmann's original orchestra on this score was ninety-plus players, because me no believe.

And unless I'm seriously mistaken (and I could be) the score to MYSTERIOUS ISLAND is credited to none other then THE LONDON SYMPHONY ORCHESTRA on the opening credits of this film.

I've got the majority of the Morgan/Stromberg re-creation scores on cd - and although they're OK, they are certainly no match to the original soundtracks. Most of the tempos are off and slow compared to the originals - and they just aren't able to conjure the 'sound' of the orchestras they're trying to emulate.

Morgan and Stromberg do a GREAT JOB in my view and come as close as possible to the OST recordings as anyone I've heard.